Hermeneutics of Interpretation in the Drawings of the Islamic Art

Abstract

Based on the realm of necessity، religion established a meeting point between the truth of the soul and art، both striving for perfection. Art depicts existence from the perspective of the Islamic depiction of this existence. It is art that conveys the aesthetic expression of the truth of the universe and human existence. Since art is a reality of existence، one of the most beautiful manifestations of the Islamic religion is art، which has expressed its content in numerous forms، including painting. The researcher presented the following questions: What is the concept of hermeneutics in art? How is interpretation represented in Islamic art? The importance and need for the research then emerged. The current research is significant because it examines the phenomenon of hermeneutics and its effectiveness in Islamic art. The aim of the research was also to uncover the hermeneutics of interpretation in Islamic art. The researcher defined the boundaries of the research as follows: Thematic boundary: Islamic art drawings. Spatial boundary: Iraq. Temporal boundary: 13th century -1237 AD. The terminology used in the title of the research (hermeneutics، interpretation، art، Islamic art) was then defined linguistically، technically، and procedurally. As for the theoretical framework of the second chapter، the researcher divided it into two sections: The first section dealt with hermeneutic theory and interpretation in art. The second section dealt with Islamic art: institutions and starting points. The third procedural section addressed the research community، the selection of the research sample، and the research tool. The researcher adopted the descriptive and analytical approach in analyzing the research sample. The researcher then conducted a sample analysis. In the fourth chapter، The researcher reached some results and conclusions, and presented recommendations and suggestions. The research then concluded with a list of sources and references. The researcher reached the following conclusions:

• The forms were two-dimensional, relying on the incomparability of the Creator in his creation and the failure to depict the third dimension, allowing them to exist in a spatial and spatial environment that lies outside the boundaries of linear and color perspectives.


• Highlighting the content as an aesthetic value filled with abstract dimensions, hermeneutical connotations, and symbols proclaiming new norms that link the subject between simplicity and innovation embodied in its various compositions and elements presented in the artwork.